The Essential Sanātana-dharma - Unity in Variety, Hinduism in Practice

Unity in Variety

Humans differ from one another in many ways: physical, intellectual, moral, social, cultural, etc. There are inherent temperamental differences in people. If we do not take into account these differences while prescribing a certain path to lead a good life—and instead offer a single formula to all, it will only lead to incompatibility. Moreover, it is this variety in human beings that makes them valuable to one another.

While many religions and ideologies claim that there is only one right goal and only one right path to reach that goal (which is typically blind acceptance of their view), an extreme anarchist position is that there are many goals and many paths, without hierarchy of any kind. Sanātana-dharma states that the goal is one (Self-realization or Bliss) but the paths are many, depending on the calibre of the seeker.

This distinction between individuals who are in different stages of spiritual evolution is termed ‘adhikāri-bheda.’ Simply put, an adhikārī is a person who has a certain qualification. And according to his situation, the path is prescribed.

For instance, when we embark on a journey to reach a certain destination, if we plan to walk, there might be an ideal route; however, if we are riding a bicycle, a different route may be prescribed; and if we are driving a truck, a totally different route may be the only possible one to reach our destination.

Hinduism boldly declares that the state of Bliss can be achieved by anyone irrespective of their backgrounds[1]—but the prescribed paths are different, keeping in mind the individual limitations.[2]

We have already seen the example of the paths of devotion, selfless action, and wisdom/awareness. In fact, there are many more—as many as the circumstances of the people. At the individual level, the ultimate goal is unity—finding oneness with the Brahman—and not uniformity. At the societal level, the ultimate goal is equity—equal opportunities given to everyone for raising their standards—and not equality (in the sense of equal outcomes).

Hinduism in Practice

Hindu sects are many and they often follow their own set of traditions and customs. While these customs seem divergent, they have an underlying unity. Hinduism has a lot of freedom and openness with regard to the beliefs, practices, and philosophies of its followers. Take the simple example of belief in a Supreme Being: some Hindus believe in a single deity while some others believe in many; some believe in the Supreme Being with a form while others believe in a Supreme that transcends form; a few others are even agnostics. What is noteworthy is that not only is this tolerated but is sanctioned by the various foundational works that declare: In whatever form one chooses to worship the Supreme in good faith, his faith is further strengthened.[3]

Over the years, there have been innumerable practices; when the best practices are organized and passed on to the following generations, it becomes a custom. Over a long period of time, customs get crystallized into tradition.

Hinduism offers ample opportunity for the customization to the needs of individuals, families, and the society at large.

We may equate the term ‘custom’ to paramparā (‘uninterrupted series,’ ‘one following the other,’ ‘successive,’ ‘repeated,’ etc.) and the term ‘tradition’ to sampradāya (‘traditional knowledge,’ ‘traditional handing down of instruction,’ ‘system of religious teaching,’ etc.)

We can visualize paramparā as a scalar quantity and sampradāya as a vector quantity.

Paramparā is what has come down to us; we have faith in it. Sampradāya represents the essential best practices that have been preserved by tradition; we can realize its value.

We start with belief (a child believes his parents and completely depends on their judgment) and slowly graduate to value (as the child grows up and learns more, he can make independent decisions).

Tradition has at its core a governing philosophy. For those who understand the underlying precept, tradition becomes a value and they can joyfully participate in the customs. They see the custom as a re-enactment of something wonderful that took place in the past or a concrete depiction of the cosmic play. For those who are not aware of the intrinsic philosophy, the tradition may become a burden when they lose the emotional connection with the rite. At the same time, it is utter foolishness to altogether discard all customs because tradition represents time-tested practices that can protect us. Why reinvent the wheel?

Whether we want to perceive tradition as fetters that bind or as an armour that protects is left to us.

Customs are restricted by space and time—if they violate the intrinsic philosophy, they can always be discarded and newer practices can take their place. In fact, if we are natural and open-minded, we will allow customs to change as the society changes.

Customs may be seen as accessories to rituals, which come under tradition. A ritual is formal and is accompanied by mantra whereas customs are informal and are directed by the local situation and needs. Naturally ritual is deeper than custom.

Let us take the example of a wedding. The mantras recited at a Hindu wedding are from seven thousand years ago and some of the rituals are at least a few millennia old but the diverse customs change over time and across geographies. The fun activities, games, food, songs, dance, photography sessions, etc. change with both place and time.

To draw parallels from music, if ritual is equated to a performance of a classical rāga*, customs can be equated to the popular version, like a film song, based on that rāga.

At the heart of all customs and traditions lies the feeling of reverence towards the universe. This reverence arises out of gratitude and manifests as worship.[4]

The earliest form of worship was Nature worship as can be seen in the poignant mantras of the Veda. This represents an offering to the forces or elements of nature that can be perceived by our senses.

In addition to the worship of such a concrete form, our ancient people also cultivated the worship of the abstract.[5] The idea was to transition from concrete to abstract to transcendence.

An image or an icon represents the concrete form of worship while a symbol represents the abstract form.[6] We find both in parallel, without any mutual opposition. For example, Viṣṇu is worshipped as a śālagrāma stone and as an icon or image (mūrti) depicting him with four arms holding a discus, mace, etc. Similarly śiva is worshipped as a bāṇaliṅga stone and also as an icon depicting him as Naṭarāja.

While the nine forms of bhakti are employed in the worship of the concrete, the path of upāsana is used for the worship of the abstract.[7]

In the traditional sixteen-fold worship, the steps that are followed to exhibit our gratitude and respect to the Supreme is just like how we treat a revered guest visiting our house – by inviting them inside, offering them a chair, giving water to wash their feet, offering water to drink, making arrangements for their bath, giving them clothes or a towel, giving them an unguent or perfume, offering them food to eat, and so on.[8]



[1] See Bhagavad-gītā 9.32–34

[2] Bhagavad-gītā 12.8–11

[3] Bhagavad-gītā 7.21

[4] Worship is only possible when there is reverence. We make a petition only to someone who we feel can solve our problem and has the empathy to listen to us. Therefore, only a person with genuine faith in the Supreme can benefit from prayer—at any rate, being true to oneself is of utmost importance. Further, even if a man is driven by beliefs, if that leads him to detachment from spatio-temporal bonds, what is the harm in it?

[5] These are known in Sanskrit as mūrta (concrete) and amūrta (abstract). The mūrta form of the Supreme is saguṇa-brahma (‘the Supreme being with form and attributes’) and the amūrta form is known as nirguṇa-brahma (‘the Supreme being without form or attributes’).

[6] The abstract symbol is known as pratīka and the concrete icon or image is known as pratimā (Ṛg-veda-saṃhitā 10.130.3).

In addition to the naturally occurring objects like śālagrāma and bāṇa-liṅga, there are many symbols – yantras, maṇḍalas, om, śrī, kalaśa, pūrṇa-kumbha, śrī-cakra, svastika, stambha/skambha, dharma-cakra, as well as sacred flora like aśvattha, bilva, tulasī, vaṭa, aśoka, and kadamba.

When it comes to mūrtis (personification of the abstract), we have a dazzling array of sculptures (bera) and paintings (bimba) depicting the various deities.

[7] Bhakti (devotion, love, affection) can be shown in nine ways – i. śravaṇa (hearing about the Supreme), ii. kīrtana (singing songs of praise), iii. smaraṇa (remembering), iv. pūjana (worshiping), v. vandana (praying), vi. paricaryā (serving), vii. dāsya (becoming a servant), viii. sakhya (friendship), and ix. ātma-nivedana (offering oneself).

Upāsana refers to contemplation through japa (chanting), dhyāna (meditation), etc. It is always better to avoid extremes in upāsana; better not to stray from procedures that are gentle and socially acceptable. Worship by means of drastic and disturbing practices is termed vāmācāra—akin to extreme workouts and severe diets. This might work for a few but is not advisable for most. Sober worship that aligns with social norms is termed dakṣiṇācāra (or samayācāra)—akin to moderate workout and slight changes in eating habits. This will work for most people.

As we move closer to the universal in our worship, there is a greater chance of our upāsana leading to tattva, which is, after all, the ultimate aim.

[8] The ṣoḍaṣopacāra-pūjā-vidhāna (sixteen-fold path of worship) includes –

1. āvāhana (invitation),

2. āsana (offering a seat),

3. pādya (offering water to wash the feet or washing the feet),

4. arghya (respectfully offering water),

5. ācamana (sipping water to purify oneself before serving),

6. snāna (making arrangements for bath or bathing),

7. vastra (offering clothes to wear after bath),

8. yajñopavita (offering the sacred thread),

9. gandha (offering a salve or unguent),

10. puṣpa (offering flowers or a flower garland),

11. dhūpa (offering perfumes),

12. dīpa (lighting a lamp, making the place well lit),

13. naivedya (offering food),

14. tāmbūla (offering a digestive),

15. nīrājana (performing āratī), and

16. pradakṣiṇa-namaskāra (the act of circumambulation and bowing down in respect).

To be continued.

 

Author(s)

About:

Dr. Ganesh is a 'shatavadhani' and one of India’s foremost Sanskrit poets and scholars. He writes and lectures extensively on various subjects pertaining to India and Indian cultural heritage. He is a master of the ancient art of avadhana and is credited with reviving the art in Kannada. He is a recipient of the Badarayana-Vyasa Puraskar from the President of India for his contribution to the Sanskrit language.

About:

Hari is an author, translator, editor, designer, and violinist with a deep interest in philosophy, education pedagogy, literature, and films. He has (co-)written/translated and (co-)edited some forty books, mostly related to Indian culture.

Prekshaa Publications

Karnataka’s celebrated polymath, D V Gundappa brings together in the eighth volume of reminiscences character sketches of his ancestors teachers, friends, etc. and portrayal of rural life. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and offer...

Karnataka’s celebrated polymath, D V Gundappa brings together in the seventh volume of reminiscences character sketches of prominent scholars, businessmen, hoteliers, as well as of the laity. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and...

Poets on Poetics: Literary Aesthetics Envisioned by Sanskrit Poets uncovers the tenets of literary theory conceptualized by masters from Bharata to Jagannātha that are embedded in the works of poets from Vālmīki to Nīlakaṇṭha-dīkṣita. Poets typically present their insights in the form of suggestive verses and rarely as an organized body of facts. Their exposition, inchoate though it might seem...

India is a land of stories. It is a fountainhead of various story-telling traditions of Greater India, Asia, and Europe. The now lost Bṛhat-kathā of Guṇāḍhya was an inexhaustible treasure-trove of stories that influenced generations of listeners. Somadeva’s Kathā-sarit-sāgara is a twelfth century Sanskrit retelling of this grand compendium. To read this work is to understand the heart of the...

Among the many contributions of ancient Indians to world thought, perhaps the most insightful is the realisation that ānanda (Bliss) is the ultimate goal of human existence. Since time immemorial, India has been a land steeped in contemplation about the nature of humans and the universe. The great ṛṣis (seers) and ṛṣikās (seeresses) embarked on critical analysis of subjective experience and...

One of the two great epics of India and arguably the most popular epic in the world, the Ramayana has enchanted generations of people not just in Greater India but the world over. In less than three hundred pages The Essential Ramayana captures all the poetic subtleties and noble values of the original and offers the great epic in an eminently readable form that will appeal to the learned and...

The Bhagavad-gītā isn’t merely a treatise on ultimate liberation. It is also a treatise on good living. Even the laity, which does not have its eye on mokṣa, can immensely benefit from the Gītā. It has the power to grant an attitude of reverence in worldly life, infuse enthusiasm in the execution of duty, impart fortitude in times of adversity, and offer solace to the heart when riddled by...

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்.
ராமன்...

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...